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Mariemont Players Limelight Review – June, 2018

Jackie Miesle, Editor
Art Kibby, Distribution

Guess What!
The new dimmer system is installed!
Lighting Dimmer System Upgrade by Art Kibby

The final installation, check-out, and training of our new dimmer system was completed on April 27. Vincent Lighting Systems of northern Kentucky was the designer and contractor for the overall project, with installation and wiring in the capable hands of King’s Electric. Our maintenance team, Steve Farley and Kim Woods, installed the new outlet numbers next to each twist-lock socket.

Those getting training on the new system were Dan Maloney, Pat Kramer, Mike Morehead, and me. We all agreed the new system is much simpler and more capable than our old, often unreliable, patch bay and dimmer packs. We no longer have to throw those big bull switches to power the equipment – just turn on the dimmer board, and we’re ready to go.

An additional benefit is programmable controls in the auditorium and at the lighting/sound station in the loft. The five-button controls will be used to turn the auditorium house lights on/off and set several “looks” with the stage lights. This capability might be used by the lighting designer for rehearsal scenes, set painting, or for photography and videotaping.

Don’t Miss It!
If you haven’t seen The Outgoing Tide (by Bruce Graham), directed by Dan Maloney, yet – there’s still time! The Outgoing Tide closes Sunday, May 27th, you don’t want to miss this one!

“In a summer cottage on Chesapeake Bay, Gunner has hatched an unorthodox plan to secure his family's future but meets with resistance from his wife and son. As winter approaches, the three must quickly find common ground and come to an understanding – before the tide goes out.”

Current Show
The Outgoing Tide

Harold Murphy as Gunner
Barbara Karol as Peg
Michael Ireland as Jack

Production Team:
Director: Dan Maloney
Producer: Dan Maloney
Stage Manager: Sara Krehbiel
Set Design: Dan Dermody
Set Décor: Dan Dermody
Master Carpenter: Bill Pauly
Set Construction: Art Kibby, John Nixon, Tim Carney
Costume Design: Peggy Stouffer
Light Design: Dan Maloney
Sound Design: Dan Maloney
Light/Sound Execution: Aimée Ward & Elizabeth Wyan
Properties: Cast & Crew
Painting: Liz Venn, Bill Brockman, Tim Carney
Program: Teresa Johns
Lobby Display: Kristen Vincenty
Opening Night Party: Dan Maloney
Adirondack Chair: Art Kibby
Photography: Kenneth Smith – KPIX Photography
Publicity: Dan Maloney
Promo Video: Art Kibby, Patrick Kramer
Box Office Manager: Betsy Farro
House Manager: Tom Peters
Facilities: Steve Farley & Kim Woods
Original Poster Art: Teresa Johns

Special Thanks to: Norma Niinemets, Linda Vaccariello, Dan Dermody, Bill Pauly, Art Kibby, Ed Cohen, Jef Brown & Amy Stier, Anne-Marie Ireland, The Seven Hills School, Tom Peters, Sara Krehbiel

Thank You, Ushers!
Linda Callahan
Janet Costello
Chris Cullen
Danny Davies
Rilla Foster
Susie Hurst
Art Kibby
Joyce Kibby
Bett Kooris
Pat Kramer
Nisrene Langenna
Dava Lynn
Denise Mann
Cheri Misleh
Mike Morehead
Lon Nease
Anne Nixon
John Nixon
Tom Peters
Steve Phelan
Gudrun Raynor
Cathy Roesener
Carol Schneider
Arny Stoller
Chuck Strain
Liz Taylor
Traci Taylor
Samantha Toberman
Ginny Weil
Linda Winslow
Steve Winslow
Rita Winters
Karen Zaugg


Upcoming Auditions
Mariemont Players and Director Laura Berkemeier Announce Auditions for More Fun than Bowling (by Steven Dietz):
When: Monday, May 21, 2018 – 7:00pm & Tuesday, May 22, 2018 – 7:00pm
Where: Walton Creek Theater – 4101 Walton Creek Rd., Cincinnati, OH 45227
Performance Dates: November 2-18, 2018

Jake owns the bowling alley in a small Midwestern town. He is sitting on a hilltop where two of his three wives are buried. Lois was zapped by lightning while carrying a bowling trophy in a thunderstorm and Loretta was killed by a ball return machine. In his younger days, he was a promising concert musician but a foul tip baseball broke his fingers which subsequently healed into a perfect bowler’s grip. Jake replays the key frames of his life and is visited by his daughter Molly who has become adept at talking women into marrying her father for love and free lane time. But who is that nattily dressed man with dark glasses and a revolver lurking nearby?

Characters: 2 Male, 3 Female
Jake Tomlinson (35-50, dependent on Molly’s age), a widower and father with a passion for bowling… and really bad luck. Owner of the Dust Bowl, Bowling Alley and father to Molly.

Molly (mid to late teens), Jake’s daughter by his first wife. Maybe a red-head but not definitive.
Lois (30-40, mostly dependent on age of Jake), Jake’s second wife and Molly’s stepmother.
Loretta (30-40, mostly dependent on age of Molly, believably 10 years her senior), Lois’ best friend and Jake’s third wife. Also, Molly’s stepmother.
Mr. Dyson (20+ but really any age), a mysterious character with a briefcase handcuffed to his wrist. The more personality, the better.
All roles are available.

Auditions will consist of cold readings of the script.
For more information, contact the director, This email address is being protected from spambots. You need JavaScript enabled to view it.

May, 2018 Play Reading Report - By Anna Nixon
Our loyal readers this time were Maris Ryan, Joyce and Art Kibby, Linda Callahan, Fred Rothzeid, Karen Zaugg, Laura Hovland, Karen Rokich, John Nixon and yours truly.
Due to a recent shortage of new plays at our downtown Library, I had to dig deep into my collection of old good plays from which I selected “Proposals” by Neil Simon. It was written in 1998. We were surprised to find how much we all enjoyed it!

Our affectionate wishes to Joyce Kibby for a speedy recovery from a nasty fall which prevented her from reading this time.
Next reading: Tuesday 19th. June at 7.30 pm.

Cast Announcement
Director Jerry Wiesenhahn is pleased to announce the cast of our September production, The Cemetery Club, by Ivan Menchell!

Ida: Mary Ann Smith
Doris: Chessie Vigran
Lucille: Barbara H. Russell
Sam: Arny Stoller
Mildred: Susan Schapiro

3 Jewish widows in New York City have been friends forever and get together once a month to visit their husbands’ graves. One of them will never get over her husband’s death, the visit to his gravesite is the highlight of her month; another is just beginning to think about putting herself back out there socially and try dating; the third may have actually scheduled a date at her husband’s funeral for later that evening. How they support each other (and occasionally don’t) is a very funny (and sometimes touching) play about life, loss, friendship, and having the courage to turn a page and begin a new chapter for yourself.

All Around Town
NKU’s Commonwealth Theatre Summer Dinner Theatre Season will present the musical Life Could Be A Dream, directed by Dee Anne Bryll. The show runs June 6th through June 24th. Check the NKU website for ticket information.

Tim Carney will play Lord Canterville, Eric Day will play Hiram B. Otis, and Jan Costello will play Mrs. Umney in the Beechmont Players production of The Canterville Ghost (Performance Dates: July 27-August 4, 2018).

Jackie Miesle will be choreographing the East Side Players production of Beauty and the Beast! Performance dates: August 9-12, 15-18.

Katelyn Reid will be featured in Cincinnati Music Theatre’s “Nothing Like A Dame: A Cabaret of Broadway’s Leading Ladies” – at the Aronoff Center’s intimate Fifth-Third Bank Theater on June 8-9 and 15-16.

ACT/OCTA Registration is upon us!
When: The Annual ACT/OCTA Convention will be held June 21-23, 2018
Where: Miami University-Hamilton, 1601 University Boulevard, Hamilton, Ohio 45011 (Excerpts)
Blue Ash Embassy Suites (off Reed Hartman) 4554 Lake Forest, Cincinnati, Ohio 45242 (Banquet & Awards)
***MPI will be represented by Around the World in 80 Days – come out and support them!***
Early-bird registration is due by June 8. The final day for registration is June 17.
Register here. Be sure to list Mariemont Players first in the “Group Affiliation” field if you’d like to sit at the MPI table at the banquet.
Reserve hotel rooms by June 6 (Embassy Suites Blue Ash). Register online or by phone at 1-800-362-2779 or 513-733-8900
(ACT Room Block)
We hope to see you there!

Because You Asked…
Since we couldn’t get enough of Maris Ryan’s Chocolate Caramel Pecan Pie at the MPI Spring Membership Party, Maris has been kind enough to share her recipe with us. Bon Appétit!

3 c. Pecans, divided
¼ c. Sugar
¼ c. Butter, melted
14 oz. Kraft Caramels, unwrapped (all of one 11 oz. package and part of 2nd pkg)
2/3 c. Whipping Cream or Evaporated Milk, divided
8 oz. Dark Chocolate Chips
¼ c. Powdered Sugar
1 tsp. Vanilla

Process 2 cups Pecans in food processor until finely ground. Mix with Granulated Sugar and Butter; press into 9” pie plate. Bake at 350 degrees for 12 minutes or lightly browned. Cool (if crust puffs up during baking, gently press down with back of spoon)

Microwave Caramels and 1/3 c. of Whipping Cream on HIGH 3 minutes or until caramels are melted, stirring after each minute. Pour into crust. Chop remaining 1 c. Pecans; sprinkle over pie.

Place Chocolate Chips, remaining Whipping Cream, Powdered Sugar and Vanilla in saucepan; cook and stir on low heat just until chocolate is melted. Pour over pie; gently spread to cover top of pie. Refrigerate at least 2 hours. Makes 10 servings.

MPI extends our deepest sympathy to Amy Stier & Jef Brown for the loss of Amy’s father. He passed away peacefully May 14th.

They Like Us. They Really Like Us!
MPI was featured in a CityBeat article about Cincinnati’s marvelous community theatre!
“From Cheviot to Mariemont and Points Between, Community Theater is Strong in this City”

Since 1960, Mariemont Players has presented its shows at a two-story schoolhouse built in 1910, now called the Walton Creek Theater (4101 Walton Creek Road, Plainville).

The second-floor auditorium (accessible by elevator) has been renovated with comfortable seating and a sound induction loop for those with hearing issues. Sight lines are excellent.

On Friday, the group opens Bruce Graham’s The Outgoing Tide (through May 27), a three-person drama directed by Dan Maloney. With dark humor and powerful emotion, it’s focused on the challenges of aging. In a home on Chesapeake Bay, Gunner (Harold Murphy), an opinionated elderly man suffering from memory loss and dementia, hatches an unorthodox plan to avoid moving into an assisted-living center.

But Peg (Barbara Karol), his wife of 50 years, and Jack (Michael Ireland), his son who’s going through a divorce, are resisting — and time is running short. Mariemont Players has a history — dating back to 1936 — of producing six ambitious, dramatically satisfying shows per season, a fuller schedule than most community theaters. Tickets:
Check out the full article here!

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Letter From The Editor
Letter from the editor – Jackie Miesle
Hello, Mariemont Players community!

First and foremost, a HUGE “thank you” to Norma Niinemets, for her years of dedication to Mariemont, nearly 20 years editing the “Limelight Review” and all the hard work she has put into the MPI community. Thank you, Norma, for everything you have done, and for so graciously helping me step into this role.

For those of you who don’t know me, I am Jackie Miesle and I’m your new Newsletter editor! I would like to take this opportunity to introduce myself and say that I am so excited to take on this role and serve the MPI community. I have a degree in Strategic Communication from Miami University and a background in Public

Relations, Communications and Marketing. I currently work in Communications/Marketing/Business Operations and I’m thrilled to bring those skills to my work with MPI.

I am a Cincinnati transplant, originally from Toledo, Ohio. I have been involved in theatre for most of my life, primarily as a performer (mostly in musical theatre), but have varied experience in several other aspects, including choreography, marketing/ticketing, and lights/sound execution. I came to Mariemont about a year ago, when I performed in Tom Peters’ production of Godspell. It had been several years since I had been in a show (I took some time off from performing in college) and Mariemont/Godspell turned out to be the PERFECT place to make my return. In MPI I found an instant familiarity and sense of home, a passion for art, and a standard of quality and hard work. This perfect blend, I believe, makes Mariemont stand out, endears its members, and will continue to drive it forward.

Ever since I re-entered the “theatre world,” I have hit the ground running and am quite eager to be involved and present. That said, I hope my admiration and enthusiasm for this community is clear.

Since I am new to the MPI Newsletter biz, I would LOVE your help! If you have any contributions or input, I am more than happy to hear them! I am doing my best to keep up with the “word on the street” and make sure I recognize members and their involvement in other productions around town, but I would love to hear from you! If you are involved in an upcoming production and would like to include it in the “All Around Town” section, send the info my way! Please feel free to reach out/send any information to This email address is being protected from spambots. You need JavaScript enabled to view it. at any time. Don’t be shy! Thank you for this opportunity; I look forward to serving you.

With gratitude,
Jackie Miesle

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Mariemont Players Limelight Review - May, 2018

Norma Niinemets, Editor
Art Kibby, Distribution

Board News
Following a successful Membership Meeting the following news was received, President. Steve Winslow announced that Dee Anne Bryll will be chairing the Artistic Committee for the MPI 2019-2020 season.

Jackie Miesle has graciously accepted the position of Publicity Chair for MPI. I will be leaving several of my volunteer positions for MPI and I am happy to announce that the following members have stepped forward to take the jobs. The Limelight Review will now be handled by Jackie Miesle . Dan Maloney will take over Opening Night Gift for cast and crew and Chris Cullen will be in charge of purchasing concessions for each production. Thanks to everyone for stepping up.

Director's Notes for Around the World in 80 Days by Jerry Wiesenhahn
A huge thank you and shout out to everyone who helped make Around the World in 80 Days a success! A special thanks to those who are not recognized in the program - the ushers and those who helped with strike. Special recognition to Kristen Vincenty, my producer who ended up doing WAY MORE than a producer generally has to do personally, including dramaturgy, lobby display, helping with painting and costumes, stage managing one night and being an incredibly valuable sounding board for me as well. Other special thanks to our costume "posse" who helped pull the 36-ish costumes together in less than 3 weeks when our costumer quit - In addition to Kristen they were Sharon Shelton, Mary Kay Wiesenhahn, Pam Kaesemeyer, Cindy Rumpke, Katherine Wiesenhahn, Gina Stack, and the cast as well - with a special thanks to Fr. Dan Anderson for the Franciscan friar robes. Thanks to Becky Mullins for her lighting design, Ryan Oelker for his painting designs and execution, Jeff Surber for his projections, and Mike Surber for set construction and the wonderful trunk he designed and built - all of these fulfilled (and usually exceeded) my original hopes for what was possible for the visual aspects of the show and I am so grateful for what they contributed. Thanks to our awesome Stage Manager Jay Gossett for keeping things running so smoothly in what can be described as organized chaos backstage, to Cindy Rumpke for designing our hair and makeup, and her efforts as dresser every night in the midst of that chaos, and to Laura Berkemeier and Dan Maloney for doing double duty running lights and projections so seamlessly the nights each of them were there. A special shout out to Art Kibby and Tom Peters for administering CPR to the lighting system to keep us visible during performances. Thanks to Eric Bardes for being our foley sound consultant, and to Pam Kaesemeyer for creating and/or tracking down our props, including the foley props, no matter how crazy they were. Thanks to Katelyn Reid for all her work with our cast on the many, many dialects they had to adopt in this show. And speaking of our cast - I could not have asked for a more creative, collaborative and funnier group of performers to go with on this journey - Eric Day, Ryan Naish, Jay Dallas Benson, Patricia Mullins, Eric Thomas and Pat Kramer - I'm so thankful we got to go Around the World together, I can't think of a better group of people with whom to do it! - Jerry Wiesenhahn

Around the World Strike Crew Submitted by Kristen Vincenty
Patricia Mullins, Eric Day, Jay Gossett, Eric Thomas, Ryan Naish, Ryan Oelker, Pat Kramer, Jerry Wiesenhahn, Mary Kay Wiesenhahn, Dan Maloney, Art Kibby, Sharon Shelton, Don Phillips, Cindy Rumpke, Pam Kaesemeyer, Steve Winslow, and myself.

Around the World in 80 Days Usher Thank You by Dan Maloney
Thank you to everyone who volunteered to usher for Around the World in 80 Days! Chris Cullen (X2), Amy Stier, Tom Peters, Vicki Rafferty, Traci Taylor, Nancy Taylor, Linda Winslow, Nisrene Langenbrunner, Karen Zaugg, Merritt Beischel, Linda Callahan, Jan Costello, Linda Roll, Art Kibby, Joyce Kibby, Amy Sullivan, Dava Lynn, Burt McCollom, Michael Sauer, John Gilligan, Lon Nease, Steve Winslow, Cathy Roesner, Steve Phelan, Rob Krehbiel, Jan Krehbiel, Sara Krehbiel, Jan Costello, Tim Carney (X2), Susie Hurst, John Nixon, Anna Nixon, Arny Stoller, Steph Stoller, and Karen Rokich.

Mariemont Players and director Jerry Wiesenhahn announce auditions for The Cemetery Club by Ivan Menchall

Audition Dates/Times:
8 PM – 10 PM Sunday, May 13th (by appointment only)
7 PM – 10 PM Monday, May 14th (appointments encouraged, walk-ins welcome)
Location: 4101 Walton Creek Rd., Cincinnati, OH 45227
Performance Dates: September 7th – 23rd, 2018

3 Jewish widows in New York City have been friends forever and get together once a month to visit their husbands’ graves. One of them will never get over her husband’s death, the visit to his gravesite is the highlight of her month; another is just beginning to think about putting herself back out there socially and try dating; the third may have actually scheduled a date at her husband’s funeral for later that evening. How they support each other (and occasionally don’t) is a very funny (and sometimes touching) play about life, loss, friendship, and having the courage to turn a page and begin a new chapter for yourself.

Characters: 4 F, 1 M – all late 50s to early 70s stage age, Auditions will consist of cold readings of the script. To make an appointment, review the script, or for more information, please contact the director at This email address is being protected from spambots. You need JavaScript enabled to view it..

March Play Reading Report by Anna Nixon
Last evening we read the play “The Gin Game”; we separated the eight actors into pairs and then broke the scenes and acts into appropriate sections for them. It worked well and the readers enjoyed the way we did it. Written in the 1970’s, this play comes over as fresh as ever. Set in an old people’s home, an intelligent man and woman relate over the card table. Unfortunately their relationship does not end happily! Our readers were: Laura Hovland, Chessie Vigran, Linda Callahan, Maris Ryan, Dava Lynn, Fred Rothzeid, Joyce and Art Kibby and yours truly. Next reading: Tuesday, May 15th. at 7.30 p.m. See you then!

A. J. Ford (Lyndon Baines Johnson)
Aaron Bates (Walter Jenkins)
Tom Peters (Hubert Humphrey)
Arny Stoller (Richard Russell)
Burt McCollom (J. Edgar Hoover)
Derek Snow (Martin Luther King, Jr.)
James Christian, Jr. (Ralph Abernathy)
Dan Maloney (Stanley Levison; John McCormack; Seymore Trammell;
Edwin King)
Joel Lind (Cartha ‘Deke’ Deloach; Howard ‘Judge’ Smith; Everett Dirksen)
Fred Murrell (Strom Thurmond)
John Langley (George Wallace)
Dava Lynn (Lady Bird Johnson; Katherine Graham; Katherine St. George)
Sally Fint (Lurleen Wallace; Muriel Humphrey; Secretary)
Gary Glass (Robert McNamara; James Eastland; William McCulloch; Paul
Johnson, Jr.)
David Hatfield (William Colmer; Robert Byrd)
Kenny Tessel (Emmanuel Celler; Walter Reuther; Mike Mansfield)
jef Brown (James Corman; Carl Sanders; Tailor; Barber)
Elizabeth Leigh Taylor (Coretta Scott King/Fannie Lou Hamer
William Gibson (Stokley Carmichael)
Charles McClinon: Roy Wilkins/Aaron Henry/Bob Moses/David Dennis

1963… An assassin’s bullet catapults Lyndon B. Johnson into the presidency. A Shakespearean figure of towering ambition and appetite, this charismatic, conflicted Texan hurls himself into the Civil Rights Act, a tinderbox issue emblematic of a divided America.

ACT Judges Loved Their Trip around the World
House: “Always comfortable and friendly. Really good to see so many theater folks. Nice ticket counter with coffee and snacks. Inside theater, seating was comfortable and well lighted (for old folks like my husband)! Stage was in full view at all times. “

Lobby Display: “Lobby display was easy to locate in and in a nice location away from the hubbub of the lobby. It was fitting for the show and tied into the over travel concept. I liked the muted color choices to give it an older feel (1872 era). I also liked the 3D letters that popped out at you and the fact that you used color photos from the production to gauge interest. Everything was easy to read and pleasing to the eye. I appreciated the inclusion of some of the artistic staff as well.”

Program And Original Art Work: “ Professionally done. Printed on beautiful stock. Nice colored outside back and front. Great computerized picture of world with directions followed by story on front cover. I really liked the “Audience Services” inside front cover, giving information for patrons as to whereabouts of restrooms, elevator, emergency exits and accommodations for people needing extra help. Nice title sheet with easy access to all information for production. “A Note from the Director…” was short and sweet with humor and thanks to the crew and actors. “ “Original Art Work was really nicely done on the front cover; fit show well.”

Pre Show: “Pre-Show announcement welcoming audience with information, and admonishments about cell phones, etc. was well done - off stage British accent. “

Set Design: “Gina Stack - I loved this design. It took about two scene changes before I could see just how ingenious the design actually was (especially for a small stage area). The Larger than life steamer trunk became so many things and each time, everything fit in so well. The video work here was wonderful. Just four chairs and four bodies that moved up and down when the trained moved! Really great work. And when they all got on the elephant, along, of course with the Foley Operator’s sounds, got a huge laugh, but once this setup was in our minds, we could actually see the elephant and hear him walking, too!! (If I knew his name, I’d have given him an orchid!) Then the video for the boat scenes got us quickly to another country and another time! Really clever work on this design. The exits and entrances around CS let other characters come into the scene in a timely, surprising, and very funny way. Wonderful!!”

Set Construction: “Mike Surber - a really fine job for the Master Carpenter and the builder (one in the same)! Very stable and strongly presented. The moving videos were framed and centered appropriately. The side pieces on SL and SR were very firm and strongly built. Really a wonderful job on an unusual set.”

Décor: “The large compass in the middle of the floor was a great touch! The walls appeared to be wallpapered (or quite possibly a wonderful paint job by Mr. Oelker). If any of the furniture pieces were not exactly period, you slipped them past me. All pieces seemed to naturally fit with the time period. Wonderful job!

Set Painting: ” Set Painting - Ryan Oelker - did a wonderful job of painting the set. All colors and textures on the walls and side pieces fit in very well.”

Light Design and Execution: “The lighting design was appropriate. Lights adjusted to create differing moods and settings (the Pagoda, sleeping in the jungle, etc.) When a full wash was intended, the entire stage was lit with no shadows” “Dan Maloney and Laura Berkemeier operated the lights very smoothly and effectively for each scene. All light cues worked excellently and advanced the mood and the action.”

Sound Design: “·The Foley artist approach was perfect for this production. All of those sounds were spot on (except, of course, the “panther” – which was deliberately played for laughs – another kudo). Unlike others, I was able to take advantage of the T-Loop which gives me a bit more insight into the balance of the microphones. Without the T-Loop, no other microphones were necessary for the intimate playing space. The shaker for the train and the wind machine were particularly effective sounds as was the stirring in the bucket of water during shipboard scenes. Wonderful job!” “

SOUND EXECUTION: “ In this section, I feel it would be best to comment on Mr. Kramer’s OUTSTANDING sound execution throughout the entire production. As a matter of fact, there may have been a few instances where he stole the show! The sounds were perfectly synchronized with the actions on stage. I could hear all of them, including the subtle water splashing sound when they were on the boat! They were executed in a timely manner and went exactly along with the cues that the actors needed to perform their portion. Not only was sound an important part in telling this story, but was necessary to moving the story along in an entertaining way. I always found myself gazing back to the Foley Operator to see what he was going to do next. It never failed, when I glanced upstage, I would also always see epic facial reactions to what the other actors were doing on stage! How did you keep a straight face? Jack Foley would be proud!” “Eric Bardes did an excellent job on the sound design”

Costumes: “Sharon Shelton ,Kristen Vincenty, Chad Phillips, Mary Kay Wiesenhahn, and Pam Kaesemeyer collaborated so well together to give this production a real treat in costuming. From a rich British Gentleman to several Muslims to a demented General with an arrow in his hat to a nutsy private investigator to a really pretty Indian girl who was perhaps the only sane character in the troop, plus her interpretation of a chagrined male assistant to Fogg, and to many more important roles of various ethnicities and levels of mentality, the costumes were perfect and versatile because some were easily? changeable quickly. Absolutely excellent work in all areas!”

Wigs and Make-up: “For this period of show, simplicity works best, especially with the number of changes these actors had to make. Ms. Rumpke is credited with makeup for this production, and I will assume that hair was handled by the cast. Everything seemed to work fine and was consistent across the board for cast members. The addition of the facial hair for some of the actors helped play a good comedic bit and read well to the audience.”

Properties: “The props were well chosen to represent 1872. I didn’t detect any instances where props took me out of the moment. The actors must have had sufficient time to rehearse with the props as they appeared comfortable using them. I (and the rest of the audience) particularly appreciated the teacups attached to the saucers and the resulting sight gag. I also noted that the newspaper looked appropriate. Many times, a newspaper for a historic period has a more yellowed effect (as if it is how we would see it now as opposed to what would have been the appearance in that day).”

Special Effects: “Jeff Surber - Projectionist - was on top of every scene and visual effects change and his timing was perfection. The entire set decor was enhanced with the scenes in movement and various parts of the world going by on the train and on the ship. This addition and other great work, I think, took part in several areas including sound and special effects. Mr. Surber handled all his elements of pictures sounds and great timing perfectly and really made this show a joy to watch.”

Stage Combat: “Having the actors directly in front of each other upstage, from where I was sitting, I could not tell that it was a staged punch. It looked believable and the reactions of those around the combat fit the scene. Combat seemed safe and I was not worried about actors during it.”

Choreography: “The cast did a credible job of bouncing on trains, riding on elephants and swaying on ships. As the pace of the vehicles increased their bodies likewise became more jostled. It was all believable and drew the audience further into the story.”

Dialect: “There were quite a few dialects to perfect, especially in some of the comic characters - (for Passepartout - especially, on the French/Scottish accent!) They were all completed with perfection and were very believable in that most all of the characters were very understandable throughout the show despite speaking with accents. Really great work Coach Kate Reid.”

Stage Management: “Jay Gossett as Stage Manager - What a gem of an SM!! I am in awe of all the changes in characters and entrances and exits. All cues were perfectly timed for movement and expectations. An exceptional comedic production that flowed from beginning to end. Fantastic work!!”

Producing: “Kristen Vincenty as Producer & Dramaturg - so many times, the producer is forgotten among all the talent in a production. And so many times, the producer’s main job is to figure out last minute production problems and solve them quickly and with a smile!! This was a really wonderful job -- everything came together very, very well. All technical and on stage duties were handled with an eye to the director’s creative hopes! It all worked to give the audience a really fun evening. Great job!”

Ensemble: “There was no doubt in my mind that this team of performers was having as much fun sharing this story as we were having watching it. Every character was fully formed and everyone was working toward the same goal of bringing laughter to the house. They succeeded in delivering a unified production that gave each performer a chance to shine when appropriate. Great job!”

Acting: Eric Thomas as Phileas Fogg “Really a wonderful characterization here. He moved comfortably on stage. His character moved with lots of quiet authority and he had the belief in himself that so many rich people have. His posture and demeanor were perfect for his character. He was a man with power; however, there was a sweet turning point when the audience realized that he was as in love with Lady Auoda as she was with him”

Eric Day (Actor1) “Wow, what I can say. Mr. Day portraying what I can only imagine to be 3,492 roles. Mr. Day has the experience of a seasoned actor and the sheer ability to steal a scene! I could not wait to see what he would come out as next. The immense amount of physicality needed to execute many of these characters was unbelievable. You were consistent and easy to hear. The dialect choices made were strong, stereotypical and relatable for many of the characters. Well done!”

Ryan Naish (Actor 2) “Mr. Naish also had his fair share of characters. He, too, varied his delivery and posture making the characters unique. His biggest differentiations came from his changes in facial expressions. His Detec,um,uh Fix was a particularly likeable antagonist and his choice of portrayal endeared him to the audience despite his attempts to foil Fogg’s mission.”

Jay Dallas Benson as Passepartout, John Sullivan (Actor 3) “Another Wow! This was a very funny character from beginning to end. “From his first comic line, after Fogg exits of: “I do believe I have seen people at Madame Tussaud’s with more life than Monsieur Fogg,” I knew I would love him! His comedic timing was right on and he fit into all groups and worked with individual actors throughout the production, no matter what part of the world they were in. Also, a really great punch that looked real and made the audience draw in air! An outstanding job with all characters.”

Patricia N. Mullins (Actor 4) “Ms. Mullins opened the show playing 2 male characters. I was fully engrossed in her performance as the former manservant handing over the reins to Passepartout. She quickly followed that up as the newspaperman giving a fantastic rundown of the 80 day estimate. Her return later to apologize for the “fake news” about the railroad was priceless! As Aouda, she was completely engaged and credible as a damsel in distress who falls for Phileas Fogg.”

Patrick Kramer as the Foley Operator, newspaperman “This was a really hysterical character once you understood why he was there! At first I thought he would leave the stage - that perhaps for a comedic effect, he was just sitting to the side and forgot where he was supposed to be! But when the show started for real and we got into other scenes, it became funnier and funnier as we realized who he was! My favorite sound, I think, was the elephant, with his arm adding solidity. And the elephant walking with a heavy gait! I also loved the water sounds in the ship scenes. All cues were perfectly timed. Wonderful!”

Directing: Jerry Wiesenhahn as Director and Choreographer “ A final “Wow” “Wow” “Wow”! All blocking was perfect and choreography movement designed to exemplify each character. A real success when the entire cast was either leaving or entering in a different costume or character. It almost reminded me of a really funny Vaudeville show (of course, I don’t remember Vaudeville, but my father told me about it and I’ve seen old movies)! Every characterization was well thought out and represented by each individual actor. All characters in the ensemble worked beautifully together, always with comedy in movement and vocalizations. I was also
amazed at the “pauses” or “beats” that characters exhibited making the hilarious comedic effects really strong. These actors were all talented and well-rehearsed with exuberance and delight, and it showed by the laughter and enjoyment in the audience. Wonderful!!!”

General Comments
“Thank you for a tremendous night of theatre and congratulations on a wonderful performance.”

“I think an ensemble of perfectly timed comedy with lots of characters whom never missed a beat is probably one of the best ensembles I’ve ever seen in Community Theater.”

“Thank you for what was truly an enjoyable evening at the theater!”

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Mariemont Players Auditions for The Cemetery Club

Mariemont Players and director Jerry Wiesenhahn announce auditions for The Cemetery Club by Ivan Menchall.

Audition Dates/Times:
8 PM – 10 PM Sunday, May 13th (by appointment only)
7 PM – 10 PM Monday, May 14th (appointments encouraged, walk-ins welcome)

Location: 4101 Walton Creek Rd., Cincinnati, OH 45227

Performance Dates: September 7th – 23rd, 2018

3 Jewish widows in New York City have been friends forever and get together once a month to visit their husbands’ graves. One of them will never get over her husband’s death, the visit to his gravesite is the highlight of her month; another is just beginning to think about putting herself back out there socially and try dating; the third may have actually scheduled a date at her husband’s funeral for later that evening. How they support each other (and occasionally don’t) is a very funny (and sometimes touching) play about life, loss, friendship, and having the courage to turn a page and begin a new chapter for yourself. 

Characters: 4 Female, 1 Male – all late 50s to early 70s stage age

Auditions will consist of cold readings of the script. To make an appointment, review the script, or for more information, please contact the director at This email address is being protected from spambots. You need JavaScript enabled to view it.

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